Abstract
Between January 8 and May 9, 1926, as part of their eighteen-month tour of the Orient, the Denishawn Dance Company performed over one hundred dance concerts in India.' These performances by St. Denis, Ted Shawn, and eight dancers were not subsidized by any government, but basically were supported by the sale of tickets and occasionally by royal patrons, such as the Nizam of Hyderabad and the Maharaja Gaekwar of Baroda. The Denishawn dance concerts were presented in theatres in Calcutta, Bombay, Karachi, Quetta, Lahore, Cawnpore, Lucknow, Delhi, Jubbulpore, Allahabad, Secunderabad, and Madras. There is no question that the Denishawn tour in India was successful and popular since it was extended considerably beyond their expectations, and they returned to cities they had already visited. Rave notices from the local press are cited in St. Denis' autobiography and in Jane Sherman's extensive descriptions of the tour and Denishawn repertory, based on her diaries and recollections.2 Both Ted Shawn and Walter Terry stated that St. Denis' visit to India in 1926 with the Denishawn Company was catalytic: it rekindled interest and pride in India's now flourishing dance forms. Terry, for example, said that Ruth St. Denis' non-authentic Indian dance helped reawaken the subcontinent's slumbering dance art and [was]
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